REVIEW: How TGA’s A Chorus Line Finds its Way into Filipino Dreamers' Hearts
By: Veronique Nazareno
This all-Filipino cast drawn from across the globe, leans fully into the rawness and vulnerability that define A Chorus Line. It reminds the audiences not only why the musical is iconic, but why it continues to be relevant decades later.
The ensemble with "I Hope I Get It"
A Pulitzer Prize winner and one of the few musicals ever to win one, A Chorus Line has long surpassed the test of time since its Off-Broadway debut in 1975. It has been one of the longest running shows in the history of Broadway and has been inspiring generations of musicals and redefining the landscape of theatre.
A Portrait of Dreamers
Created by Michael Bennett, with music by Marvin Hamlisch, lyrics by Edward Kleban, and a book by James Kirkwood Jr. and Nicholas Dante, the musical centers on seventeen (17) Broadway dancers vying for a coveted spot in the chorus line.
With Zach (Conrad Ricamora) as the commanding director, each performer is asked to step forward and share their personal story, revealing their struggles, dreams, insecurities, and what drives them to pursue a career in theater. Included in the dancers auditioning is Cassie (Lissa De Guzman), a once-successful soloist, who is struggling to find work.
What makes the musical truly groundbreaking is its radical shift in focus by giving voice to the ensemble instead of the traditional leads. The musical unfolds through the individual stories of the dancers. Historically, this structure is rooted from a series of taped workshop sessions with Broadway dancers, some of who eventually joined the original cast
Lissa De Guzman as Cassie
Filipino Talents on Center Stage
In this staging by Theatre Group Asia, Filipina-American and Emmy Award–winning choreographer Karla Puno Garcia takes the helm for her directorial debut. She led worldwide auditions (including a nationwide Philippine search in Manila, Cebu, Bacolod, and Davao) to find Filipino performers who meet the demanding standard of a true triple threat: singing, dancing, and acting at the highest level.
And this cast strongly delivered.
Tony and Grammy nominee Filipino-American, Conrad Ricamora (also known as Oliver in How to Get Away with Murder) brings a controlled authority to Zach.
He transforms the theater into an extension of the audition room, utilizing the aisles and balcony. This spatial dynamism helps the immersion, placing the audience as quiet witnesses to the inner lives of the performers.
Filipina-American Broadway actress Lissa De Guzman’s (the first Filipina to play Elphaba in Wicked) take on the role of Cassie balances vulnerability with determination. Her solo for “The Music and the Mirror” is unforgettable, where Cassie’s dance becomes her unspoken language for her passion. Watching De Guzman move is on another level of experience.
Richard Yadao as Larry, shines with his exceptional movement, well-suited to his role as the assistant choreographer and the crucial intermediary between the dancers and Zach.
Other standouts include Jordan Andrews and Sam Libao as the charming and comedic duo Al Deluca and Kristine Urich, whose rendition of “Sing!” brings warmth to the production. Rapah Manalo radiates infectious energy as Richie Walters, while Stephen Viñas and Luca Olbes deliver distinct and memorable performances as Bobby Mills and Gregory Gardner, respectively.
Mikaela Regis as Sheila Bryant, Michaela Marfori as Bebe Benzenheimer, Iya Villanueva as Maggie Winslow, rendered such a heartfelt number with “At the Ballet,” to gently unfold their individual backstories.
Universe Ramos’ monologue as Paul San Marco also stands out with emotional strength.
Kudos to every member of the cast as there is a striking authenticity in each of their performances. While the ensemble moves in striking synchronicity, each performer is given space to assert their own identity and voice.
True to its form, the show is heavy on monologues as it centers on each of the seventeen dancers and their individual journeys. At times, these monologues may feel extended but essentially serve the storytelling.
The choreography is undeniably excellent: clean, precise, and strong. Audiences, whether dancers or simply enthusiasts of this art form, will have grand time.
Mikaela Regis as Sheila Bryant, Michaela Marfori as Bebe Benzenheimer, Iya Villanueva as Maggie Winslow with "At the Ballet."
Bare Essentials on Stage, Maximum Impact
The staging remains intentionally minimal, stripped down to its bare essentials, with understated costumes that help place the focus squarely on the performers and their stories.
During the VIP Gala Night performance, there were minor technical issues with the microphones, though these are likely to be addressed as the run progresses.
Admittedly, I found myself wanting more of the legendary “What I Did for Love” and the high-energy finale, “One.” Perhaps a rewatch is in order.
Distinctly Filipino Heart
Matched with the sheer talent on stage, this production captured the magic of the original material while infusing it with a distinctly Filipino heart.
Ultimately, TGA’s A Chorus Line will not only strike a chord with theatre artists, but also to anyone who has ever dared to dream. Because in the end, it is not just about getting the role but having the courage to keep on showing up, already a triumph in itself.
A Chorus Line is now running at the Samsung Performing Arts Theater in Circuit Makati until March 29, 2026.
Tickets are available via TicketWorld.
All photos courtesy of Theatre Group Asia.
The ensemble with the finale, "One"
About the Author: Veronique Nazareno is a practicing lawyer and the Founder and Editor-in-Chief of Together Manila. A theater and music enthusiast, she developed a deep love for rock and heavy metal at a young age. She is also now a proud ARMY.
Instagram: @inkynazzz